台灣新生代女性導演的酷兒影像：社會性／別的文化實踐與想像

New Generation Female Taiwanese Directors and Queer Imagery: Cultural Practice and Gender Imagination

酷兒影像作為一種性／別協商、認同與身體實踐的場域，在台灣的同志運動發展中扮演了重要角色。本研究以台灣新生代女性酷兒電影導演為對象，深入詮釋她們電影中的「酷兒性」及其性／別想像實踐。本文首先試圖勾勒同志／酷兒電影史的發展輪廓，提出以女性導演創作為焦點的酷兒電影史。透過深度訪談與文本分析，本研究發現女性酷兒電影史是同志／酷兒運動的翻版，再現了社會同志／酷兒的文化樣貌。同時，在同志與酷兒交織的身分認同中，新生代女性酷兒電影導演將同志身分轉化至創作認同過程，實踐了超越社會性／別框架的酷兒影像創作。此外，她們藉由將同性戀常軌化的敘事方式，構造了一套同志／酷兒與異性戀普同的文化邏輯，並且擬化一個同性戀與異性戀彼此對照的酷兒景觀。於是，新生代女性導演的影像提供了一種「酷兒時空」的想像，是非典型日常生活模式的另類空間之挪用。最後，新生代女性酷兒電影導演試圖尋找「前輩酷兒的身影」，描繪了屬於前輩酷兒的異質歷史與生命經驗。綜合以上，本研究期待能提供酷兒影像更多元、更完整的討論，並在台灣同志／酷兒的發展光譜中，持續關注酷兒文化的社會實踐與想像。

Queer imagery, as a field of gender negotiation and identification and body practices, has played an important role in the development of the LGBT movement in Taiwan. This research, emphasizing the Taiwan’s new generation of female queer film directors, takes an in-depth examination of the“queerness”and the practice of gender imagination in their works. Furthermore, this study attempts to contour a queer film history focusing on those female directors’creative work. Through in-depth interviews and text analysis, the study found, firstly, that the history of Taiwanese women’s queer film is a recapitulation of the LGBT movement, reflecting queer culture in Taiwanese society. Second, the new generation of female queer film directors in Taiwan transformed queer identity through the process of creating identification that violated the dominant social gender framework. Moreover, they constructed a cultural logic of homosexuality/queerness and heterosexuality through narrative homonormativity; they also simulated a queer landscape in which homosexuality and heterosexuality are in constant juxtaposition. That is, the queer imagery of the new generation of female directors provides an imagination of a“queer sphere”, which is an alternative appropriation of the practices of everyday life. Finally, the new generation of female queer film directors has searched for the footsteps of queer pioneers, and intended to depict the heterogeneous history and life experience of past queer artists. With the above research objectives, it is anticipated that this study can provide a more diverse and complete discussion of queer imagery, and furthermore extend the inquiry into social practice and imagination of queer culture in Taiwan.